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                  <text>The black velvet evening dress in La Dolce Vita--who made it, who wore it, and what it all meant</text>
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                <text>In thinking about dress as a situated body practice, consider the relationship between a garment and the body wearing it. Is it reciprocal, transactional, symbiotic?  When a body moves in a garment, how does the garment react? As vintage fashion blogger Kali Pappas writes, "The way Ekberg whirls through the Caracalla scene, it’s almost like the dress has taken on a life of its own."</text>
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                <text>Take a look at the dress, on display here in the hall dedicated to Fellini at Cinecitta Studios in Rome. Indeed it is void, mute, maybe even parched and cold after its giddy week in 1960 of being soaked and penetrated. </text>
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